Next Generation Camera

Getting ahead of the curve

Background• Sony cameras evolved from traditional

broadcast designs when the need was to send an analog signal across a studio

• Since then data transfer has evolved

• Tape based workflows are dying out and being replaced with radically different methods

• Today, the camera is only a part of the process and the true power is in the system

• Cameras are getting simpler, not more complex

• Processing is being off-loaded to the cloud

• The Red Epic is more than just a new imager, Red has redefined what a camera system is

• Sony has to listen to the voice of the customers who are using Red cameras, and rethink its camera systems architecture

• There is room for Sony to innovate but we must act swiftly

• The power is in the system

What is a Camera?• A networked terminal that converts information from

the physical world into useable digital information

• Integral part of an overall system that defers those functions which can be done later to downstream components

• A minimalist approach supported by processing power in the rest of the system

• Has no onboard processing in the camera except as needed for local monitoring or transmission to storage

• Operates easily in untethered handheld applications

• Provides a comprehensive interface for the Director and Director of Photography

• Simplifies and automates Metadata embedding

What is a Camera?

Lens

Imager

A to D

Network Interface

Battery

Storage

Modular construction

What is a Camera?• Imager

– Lens mount

– Imager

– A/D converter

– RAW interface

• Local control module

• Monitor output module

– 422 720/1080

• Network interface adapter

– 8Gbps dual link Fiberchannel

– Dual link 10Gbps Ethernet

• Storage adapter– Accepts SSD media with capacity up to

500GB

• Wireless interface module(s)– Remote control interface

– Opportunistic download

– Real time monitor feed

• Electronic viewfinder

• Power options– One or more battery packs

– AC adapter

*Customer only installs modules they need

Requirements• Imager

– 8k modified Bayer pattern

– High dynamic range

• Data outputs

– RAW data

– No onboard processing in the camera except as needed for local monitoring or transmission to storage

– Metadata

– 1080p/720p RGB

• Interfaces

– Real time RAW over 10Gb Ethernet or Fiberchannel

– Control and “Opportunistic” download via 802.11n wireless

– Local monitoring via HD-SDI and HDMI

• Local storage module

– Accepts SSD module

• Modular construction

– Customer only installs modules they need

• Complete metadata

– Lens data (focal length, aperture, etc.)

– Camera setup parameters (exposure, etc.)

– Director of Photography input (LUTs etc.)

– GPS derived data

– Geolocation

– Time reference (precision reference to automate TC)

– Inertial, angular and motion data

– Slate data received wirelessly

– Additional production notes as needed

• Weight

– 2.5kg body only

– < 6kg shooting configuration including recorder but w/o lens

• Power options

– Battery pack

– DC power supply

• Configurable for untethered operation

Remote Control Module

DP Interface

LUT RenderingMonitor

Network Server

Live Operation Modules

RecordableMedia Dock

Fiber Channel or 10GigE

WiFi orBluetooth

The Camera System

Complete Software Solution

Director of Photography interface

• IOS and Android application

• Select Camera Look Up Tables (LUTs) to manage color

• Measure and control exposure

• Monitor feedback of camera and signal status and levels

• Enter additional notes as needed

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Remote Control Module• Measure and control exposure

• Manage color through LUTs including inputting LUTs

• Monitor camera and signal status and levels

• Acquire and manage metadata

• Manage camera modules such as network interfaces

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Storage • Recordable Media Dock

– For unloading SSD media

– eSata, NAS and USB 3.0 interfaces

– Add-on function to dump media to LTO-5

• Network Server Application– Software running on

Linux/Mac/Windows server

– Manages real time transfer of RAW images and metadata

– Manages opportunistic wireless transfer of RAW images and metadata

– Managed through UI and web services (Conductor)

LUT Rendering Monitor• Receive image files with embedded

metadata (LUTs)

• Apply and render LUTs and display the corrected image in real time

• When used with the remote control, allows monitoring of the impact of real time “camera adjustment”

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Data Movers for Live Operation• Transfer module

– Manages transfer of RAW images and metadata from camera to render module for real time display and transmission

– Functionally same as network server application

• Wireless receiver module– Processing as

appropriate for bandwidth limitations for real time display and transmission

Render Module• Inserted at or before the vision

mixer/switcher

• Applies accumulated LUTs

• Use Ellcami

• Can also be used in a variety of Post Production roles

– Feeds to non-render capable monitors (e.g. consumer sets in offices or viewing rooms)

– In preparation of dailies materials for use in editing systems

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Qlogic 8Gb PCI-E (X4) Dual Port Fiber Channel Host Bus Adapter

Retail PriceUS$1,750.99

QLogic QLE8042 - Network adapter - PCI Express x8 – Dual Port 10 Gigabit Ethernet

Retail priceUS$1,568.01

Network Interfaces10Gbps Ethernet

• Using Ethernet for isochronous data

– Connect as a point to point data link

– Isolate camera data transmission from camera control & metadata transmission

– Don’t connect to a blocking switch

– Don’t contend for bandwidth with other traffic

8Gbps Fiberchanel

• Using Fiberchannel

– Write directly to storage

Color and Metadata Management

• In the last century, Kodak was the authority in color management. In the 21st century, Sony should be that voice.

• Color management can be redefined in a way that:– Captures the creative decisions made during

photography,

– Carries and preserves those decisions

– Allows further refinement post production

• The camera is part of this process – but only a part.

• Done properly, as part of the integrated system, the camera allows Sony to control the images flowing through the post production process.

• Sony can integrate the technology into its cameras and bring to market the systems that leverage the capability it provides

• Control of the camera is essential.

To Summarize• This design breaks new ground, using modular

system design to produce the best possible image quality with advanced workflows

• It reaches far beyond where Red has set the bar in file based camera technology

• It is a uncluttered image capture device that defers image processing (applying LUTs etc.) downstream modules in the system

• It will allow Sony to continue to compete with new cameras like the Red Epic by offering not only better imaging technology but also a superior workflow

• For image processing Ellcami has an important role to play but with many functions Sony’s new products will be software running on hardware made from commodity IT components

Red

The Competition

Red Epic• Sensor 14 Megapixel Mysterium-X

• Pixel Array 5120x2700

• S/N Ratio 66dB

• Dynamic Range 13.5 Stops, Up To 18 Stops With HDRx

• Lens Coverage 27.7 x 14.6mm = 31.4mm (Diag)

• Acquisition Formats: 5K Raw (Full Frame, 2:1, Anamorphic), 4.5K Raw (2.4:1), 4K Raw (16:9, HD, 2:1 Anamorphic), 3K Raw (16:9, 2:1 Anamorphic), 2K Raw (16:9, 2:1 Anamorphic), 1080p RGB (16:9), 720p RGB (16:9)

• Project Frame Rates 23.98, 24, 25, 29.97, 48, 50, 59.94

• Delivery Formats: 4K : DPX, TIFF, OpenEXR, 1080p RGB or 4:2:2, 720p 4:2:2 in Quicktime, JPEG, Avid AAF, MXF.

• Output SMPTE Timecode, Metadata

• Monitor Output: HD-SDI And HDMI With Frame Guide, Look-Around, 2K, and more

• Digital Media Redflash (CF) Module: (8, 16Gb Media), Redflash (SSD) Module: (64, 128, 256Gb)

• Audio 2 Channel, Uncompr, 24-bit, 48Khz.

• Monitoring Options: Red LCD 5” Touchscreen Display, Bomb EVF High Definition Viewfinder

• Remote Control Wireless, Ethernet, RS232, USB

• Weight 2.7kg. Body Only

• Construction Aluminum Alloy

Spiderman chose to shoot on Epics

• Red has the advantage in:– Cost

– Resolution

– Weight

– Data size (R3D RAW files are smaller)

– On-set complexity (Red is simpler)

– Complete solution from production to post

– And their software is free

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Peter Jackson talks about the Red Epic

“I find the picture quality [of RED cameras] appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo.”

– Peter Jackson on purchasing 30 Red Epics for “The Hobbit”, quoted from Red web site

• Click to edit Master text styles– Second level– Third level

• Fourth level– Fifth level

Red’s Modular Construction• Click to edit Master text styles

– Second level– Third level

• Fourth level– Fifth level

Epic Light

Expect Red to raise the stakes and continue to erode Sony’s market

The Epic Light is rumored to be a very

low cost camera

Red as a Broadcast CameraRed Epic HDC1550R

1080p / 59.94fps ⃝ ⃝

720p / 59.94fps ⃝ ⃝

HD-SDI i/f ⃝ ⃝Onboard recording ⃝ XNetwork remote control ⃝ ⃝

CCU ⃝ (additional cost)

Genlock input ⃝ ⃝S/N Ratio 66dB 54dBPrice $40k $60k* w/o CCU

*Discounted

Wrap Up• Today, the camera is only a part of the process and the true

power is in the system

• Sony must provide the complete systems solution– If Sony does not make the system components nobody else will

• Sony Pictures Technologies wants to partner with PSG to develop the new camera system

Slide 1BackgroundWhat is a Camera?What is a Camera?What is a Camera?RequirementsThe Camera SystemDirector of Photography interfaceRemote Control ModuleStorageLUT Rendering MonitorData Movers for Live OperationRender ModuleNetwork InterfacesColor and Metadata ManagementTo SummarizeSlide 17Red EpicSpiderman chose to shoot on EpicsPeter Jackson talks about the Red EpicRed’s Modular ConstructionEpic LightRed as a Broadcast CameraWrap Up